A Nervous Splendor: Vienna 1888-1889

A Nervous Splendor: Vienna 1888-1889
by Frederic Morton

A Nervous Splendor: Vienna 1888-1889
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Book Summary Information

Author: Frederic Morton
Edition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 1980-10-30
ISBN: 014005667X
Number of pages: 352
Publisher: Penguin (Non-Classics)

Book Reviews of A Nervous Splendor: Vienna 1888-1889

Book Review: Tragedy Worthy of a Playwright
Summary: 5 Stars

As I was still reading Morton's A NERVOUS SPLENDOR and wondering how best to describe the author's approach to history, the perfect metaphor came to mind. Some historical writers, mainly, it seems, those of public school textbooks, adhere religiously to objective, undeniable fact: dates, names, places, and the other minutiae that so often make their books better studies in tedium more than of history. Perhaps we can describe their works as "photographic history," i. e., absolutely accurate in every aspect but devoid of imagination and interpretation. Morton, to continue the analogy, writes "artistic history," using an artist's brush rather than a camera. In his hands, history is interpreted on a canvas, and the reader sees all of the colors, swirls, and textures of the scene.

"But," we may ask, "is not the camera more trustworthy than the artist's interpretation of events?" It may be, but then again the photographer chooses what objects to photograph, the angle from which each photograph is taken, and what highlights and shadows to include. Whenever one reads history, from whatever view the author has taken, he is reading the author's interpretation of that history and would do well to remember that what he is reading has been filtered through another's mind first. In the ultimate analysis, we have no idea of what historical "truth" is; we know only our impression or interpretation of that truth. A NERVOUS SPLENDOR gives us Morton's view of the culture, society and political manipulations afoot in Europe, particularly in the Austro-Hungarian Empire of the dying Hapsburg dynasty in the year 1888 and the first fateful months of 1889.

I am not suggesting that Morton's view is at all "wrong." If the bibliography is any indication, then his interpretation has been constructed from an impressive list of remarkable sources. On the other hand, there being no footnotes or citations within the text, the reader can not know which, if any, of the bibliographic entries is the source for any particular observation. My feeling is that Morton has read widely about the era and has amalgamated his diverse readings into his own unique perspective. I also suspect that this gives us as accurate a view of the scene as that of any other historian and, just as importantly, Morton's painting makes the scene come to life, captivates the reader, and puts him squarely on the Ringstrasse to watch the passing scene at first hand.

And what a passing scene it is! The reader perceives the decay that underlies the glamor of Vienna in the latter years of the 19th century. He understands the growing frustration and sense of futility that builds in Crown Prince Rudolph as his desire to make the empire more progressive and responsive to its subjects is continually thwarted by the unmovable mass of a four-century-old monarchical government supported by an aristocracy that inherited rather than earned its influence.

The last few chapters detail the tragic outcome of the relationship that developed between Crown Prince Rudolph and Baroness Mary Vetsera. Suffice it to say that Shakespeare's 16th century tragedy of Romeo and Juliet is no more poignant than the 19th century tragedy of Rudolph Hapsburg and Mary Vetsera. In fact, the far-reaching consequences of the fate of the Crown Prince were far more dire in real life than those of Romeo Montague, for upon the death of Rudolph, his cousin Franz Ferdinand became the archduke and heir apparent to the Hapsburg throne--until an assassin's bullet ignited the conflagration of World War I.

Adding to the fascination of A NERVOUS SPLENDOR are the verbal portraits one sees of several well-known personages who walked the boulevards of Vienna in the latter decades of the 19th century: Johannes Brahms, Anton Bruckner, Sigmund Freud, Theodore Herzl, Johann Strauss, and other luminaries who, despite their later acclaim, lived through their own very human rivalries, failures, disappointments, joys, and successes, much as you and I. Seeing them as living humans struggling for their own recognition or, in some instances, survival, gives one a deeper appreciation for the real people underlying modern perceptions of them.

A NERVOUS SPLENDOR is history as I feel it should be written--interestingly, engagingly, captivatingly. Even if one has little interest in the history of Europe preceding The Great War, the character portraits in this book are fascinating, and, as I have already suggested, the end is a historical tragedy worthy of a great playwright. Seek out this book, whether new or in whatever ragged, dog-eared copy can be found, for it is more than worth the time and effort to do so.

Summary of A Nervous Splendor: Vienna 1888-1889

On January 30, 1889, at the champagne-splashed hight of the Viennese Carnival, the handsome and charming Crown Prince Rudolf fired a revolver at his teenaged mistress and then himself. The two shots that rang out at Mayerling in the Vienna Woods echo still.

Frederic Morton, author of the bestselling Rothschilds, deftly tells the haunting story of the Prince and his city, where, in the span of only ten months, "the Western dream started to go wrong." In Rudolf's Vienna moved other young men with striking intellectual and artistic talents?and all as frustrated as the Prince. Among them were: young Sigmund Freud, Gustav Mahler, Theodor Herzl, Gustav Klimt, and the playwright Arthur Schnitzler, whose La Ronde was the great erotic drama of the fin de siecle. Morton studies these and other gifted young men, interweaving their fates with that of the doomed Prince and the entire city through to the eve of Easter, just after Rudolf's body is lowered into its permanent sarcophagus and a son named Adolf Hitler is born to Frau Klara Hitler.

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